【National Film Archive】Announcement of the Exhibition '70 Years After His Death: Film Director Kenji Mizoguchi'

Camping Song (1938) shooting snapshot [from left: Fumiko Yamaji, Moriko Urabe, Kenji Mizoguchi, Junichiro Aoshima] National Film Archive collection

Kenji Mizoguchi (1898-1956), a giant who shone brilliantly in world cinema history. On the occasion of the 70th anniversary of his death in 2026, the National Film Archive will hold the first exhibition about Mizoguchi, commemorating his great achievements. Mizoguchi, born in Tokyo, initially aspired to be a painter but joined the Nikatsu Towada studio in 1920 and began his career as a director with "The Day of Resurrection" in 1923. After moving the base to Kyoto due to the Great Kanto Earthquake, he continued to produce diverse works. "Naniwa Elegy" and "Sisters of Gion" (both 1936), which depict women as victims of society with thorough realism, marked one of Mizoguchi's peaks. Additionally, the large-scale work "The Story of the Last Chrysanthemums" (1939) and the epic "Chushingura" (1941-42), which featured an unprecedentedly large set, testified to Mizoguchi's role as a leading figure in Japanese cinema. After the war, following the revival work "Women of the Night" (1948), Mizoguchi's masterpieces based on Japanese classical literature, "Life of Oharu" (1952), "Ugetsu" (1953), and "Sansho the Bailiff" (1954), won the Venice International Film Festival three consecutive years. His expression using long takes and moving shots, along with his perfectionist direction, not only showcased the high artistry of Japanese cinema internationally but also inspired filmmakers worldwide, including those of the French New Wave, Theo Angelopoulos, and Andrei Tarkovsky. This exhibition will introduce Mizoguchi's lifelong achievements, filmmaking techniques, and contributions to world cinema, analyzing his directing style using materials left by the renowned staff of the "Mizoguchi Group," including Kazuo Miyagawa (cinematography), Hiroshi Mizutani (art), Fumio Hayasaka (music), and others. We look forward to this rare project that delves into Mizoguchi's uncompromising, dense cinematic art.

Highlights

1. The first comprehensive retrospective exhibition of Kenji Mizoguchi, a master who shone brilliantly in world cinema history

Alongside Yasujiro Ozu and Akira Kurosawa, Mizoguchi's name resonates in world cinema history. However, unlike Ozu and Kurosawa, no exhibition themed around his art had been held until now. This exhibition is the first comprehensive retrospective that directly features Kenji Mizoguchi, a representative giant of Japanese cinema.

2. Unraveling Mizoguchi's art from valuable materials gathered from various aspects

Around the perfectionist Mizoguchi, who maintained a perfectionist production attitude, gathered an excellent production team capable of meeting his harsh demands—Yoshiaki Yoda (script), Kazuo Miyagawa (cinematography), Hiroshi Mizutani (art), Fumio Hayasaka (music), Tsuruko Sakane (assistant director/recording), Kinuyo Tanaka (actor), and others. Numerous materials formerly owned by the "Mizoguchi Group" members, carefully preserved in various places, will be publicly displayed for the first time, delving into the essence of Mizoguchi's art.

3. A rich visual display to deepen the understanding of the exhibition

In addition to valuable real materials, the venue will feature various forms of displays, including video displays, digital material displays, and music displays. You can compare the script actually used on the set with the completed film, among other contents that allow you to enjoy the exhibition more deeply. *Note: The digital display of this exhibition is part of the "Archive Core Hub Formation Model Project" (operated by the non-profit organization VIPO).

4. Guest talks and screening events, among other related events during the exhibition period

During the exhibition period, we will present three guest talks by representatives of Kenji Mizoguchi researchers in Japan, as well as joint screening events with the Tokyo International Film Festival, "TIFF/NFAJ Classics: 70 Years After His Death: Film Director Kenji Mizoguchi" (October 27 - November 1), and other related events are also planned.

Exhibition Composition

Chapter 1: Nikatsu Towada Period

In 1920 (Taisho 9), Mizoguchi joined the Nikatsu Towada studio. After serving as an assistant director in works such as "Kyoya Kinzen" (1922, directed by Eizo Tanaka), he made his directorial debut with "The Day of Resurrection" released in February 1923. However, the Great Kanto Earthquake in September of the same year caused the studio to suffer catastrophic damage, leading to its closure. This chapter explores Mizoguchi's Nikatsu Towada studio period, which ended abruptly with the earthquake shortly after his entry into the film industry and his directorial debut.

Chapter 2: Nikatsu Kyoto Period

Following the disaster, Mizoguchi moved with Nikatsu, which relocated its production functions to Kyoto, and began activities in the new location. Starting with "The Whispering of the Paper Doll in Spring" (1926), which ranked 7th in the Kinema Junpo Best Ten, he frequently won film awards and, in "The Hometown of Yoshie Fujiwara" (1930) and "The God of Time" (1932), was one of the first Japanese directors to challenge talkies, continuing his ambitious activities. This chapter features various ambitious works from Mizoguchi's growth period.

Chapter 3: The First Golden Period

In 1932 (Showa 7), Mizoguchi left Nikatsu and moved to Shinko Kinema. He achieved success with "The Dawn of the Manchurian and Mongolian Empire" (1932) and "The White Thread of the Waterfall" (1933), starring popular actress Takako Irie, further enhancing his reputation. In 1936, he consecutively released "Naniwa Elegy" and "Sisters of Gion," which used Kansai dialect for all dialogue, a unique approach at the time, marking one peak period. This chapter traces Mizoguchi's first golden period, characterized by the pursuit and achievement of uncompromising realism.

"Naniwa Elegy" (1936) Poster National Film Archive collection

Chapter 4: Shochiku Period—From Wartime to Postwar

In 1939 (Showa 14), Mizoguchi was invited to Kyoto's Shochiku to direct "The Story of the Last Chrysanthemums," which won the Minister of Education Award, among other high evaluations. Following this work, Mizoguchi consecutively directed "Osaka Elegy" (1940) and "The Master of Art" (1941), which depicted people living in the world of classical performing arts, and then released the large-scale epic "Chushingura" (1941-1942), which featured an unprecedented scale, including a life-sized reproduction of the "Pine Corridor" of Edo Castle. This chapter explores the works produced at Shochiku during the wartime and postwar periods, using actual materials.

"The Story of the Last Chrysanthemums" (1939) Script National Film Archive collection "Chushingura" Part 1 (1941) Still National Film Archive collection

Chapter 5: The Second Golden Period—Daiei Kyoto Period

"The Life of Oharu" (1952) Poster National Film Archive collection

After "My Love Has Not Burned Out" (1949), Mizoguchi left Shochiku and worked on projects at various companies, including Shintoho, Daiei, and Toho, but faced difficulties both commercially and critically. Among these, "The Life of Oharu" (1952) won the International Award at the 13th Venice International Film Festival, suddenly attracting attention. From 1953, Mizoguchi became an exclusive contract director for Daiei and, with "Ugetsu" (1953) and "Sansho the Bailiff" (1954), achieved the unprecedented record of consecutive entries and awards at the Venice International Film Festival for three years following "The Life of Oharu," further enhancing his global reputation. Although Mizoguchi was actively working, he fell ill after the release of "Street of Shame" in 1956 and passed away on August 24 at the age of 58. This chapter delves into the numerous masterpieces from Mizoguchi's later years that remain in world cinema history.

Chapter 6: International Recognition

After "The Life of Oharu" won at the Venice International Film Festival, Mizoguchi's films not only supported the forefront of Japanese cinema's overseas expansion but also, through their high artistry, influenced filmmakers not only in Japan but also around the world.